Upon This Rock - Joe Farrell - Various - Dealers Choice Two: Definitive Breaks (Vinyl, LP)

Willie Dennis was born in South Philadelphia 33 years ago. He picked up the trombone when he was about 15, learning by ear. At one of the early jazz workshop concerts in Brooklyn, Mingus brought together Dennis, J. Johnson, Kai Winding, and Bennie Green. This concert was billed as the Battle of the Trombones, and marked the beginning of the Jay and Kai team. In he went to the West Coast with Mingus. He is currently working with Buddy Rich.

Charlie Parker. He joined the jazz workshop early in and was one of the musicians playing at the Brandeis Festival that summer, where Mingus' "Revelations" was performed along with the compositions of five other jazz and classical musicians. In the spring of Knepper organized his own group, later joined Tony Scott, and more recently toured with Stan Kenton.

He is very accomplished technically. Britt Woodman and Duke Ellington's other trombonists listened to him enthusiastically last summer at the Great South Bay Festival, where he played with the jazz workshop. Britt summed up their feelings, saying: "Man, he's all over that trombone!

Mingus' biography has been noted quite fully elsewhere, but for the benefit of new members of his audience I'll recapitulate it in brief.

He was born in an army camp at Nogales, Arizona, April 22,and soon thereafter his family moved to Los Angeles. He grew up in Watts, three miles from L. The first music he heard was church music. His stepmother took him to the Holiness Church where there were trombone, tambourines, bass, and a bass drum, and the music was filled with blues, moaning, and riffs set by the preacher. One day, listening to his father's crystal set at the risk of being severely punished if found tampering with ithe heard Duke Ellington's "East St.

Louis Toodle-Oo. He tried the trombone when he was six, later took up the cello, and switched to bass in high school. He studied the bass with Red Callender and then, for five years, with H. Rheinschagen, formerly of the New York Philharmonic.

I've mentioned in passing his foray into film scoring, and I'd like to add a word about jazz and poets. Mingus played with poets in Frisco ten years or so ago. He feels it hasn't had the proper chance in New York, despite the many efforts to present it, including his own concerts last March with Kenneth Patchen. But music and poetry or acting does seem to have a definite future - if his recent experience with actors on television is a reliable forecast.

At this writing [], he has just completed work on the first of three plays by Leo Pogostin for the Robert Herridge Theatre. The first play of this trilogy uses bass alone for the score; the other two will employ other members of his group. During the week of rehearsal and the three dress rehearsals, musician and actors worked in close reaction to one another. For the actual taping of the show, however, the music was cut down so low as to be inaudible to the actors, to avoid feedback into their mikes.

Two of the actors said they missed it - the bass had seemed to be another actor and had become an integral part of the play. The acting methods used were peculiarly akin to jazz. The script formed the skeleton around which the actors might change or ad lib lines according to their response to the situation at that moment, so that each performance was slightly different.

Martin Balsam, the lead, said, "Sticking too closely to lines is stifling. This method gives an air of the unexpected and keeps us alive to the situation and the other actors. Jazz musicians working with actors could conceivably provide audiences with some of the most moving and alive theater they have ever experienced. One poet, Jonathan Williams if we may return to poets for a momentin noting the rather bare poetic scene writes, "The only solace for a poet in New York is the occasional spirit in painting and jazz - the 'opening out of my countree,' the projective flash that Charles Olson sees inherent in the greatest American art: Ives, Ryder, Sullivan, Melville.

In the winter of this spirit radiates for me from the paintings of de Kooning, which seem like the best landscapes since Oz, and from the sessions of the Charles Mingus Jazz Workshop. I heard this Quintet more than thirty times in three months, increasingly rapt by the presence of those tired but necessary words 'nobility' and 'love' in the music.

They are there, available, God knows, for anyone of those not so bugged by the crazy barrage of the Communication of Nothing that they can still hear. Poetry and music are for those with straight connections between ears, eyes, head, heart, and gut.

Note: A 45rpm 2LP version of this album is also available here. He had huge creative appetites as well as being hot temperedcreating his own combination of hard bop, blues, and avant-garde jazz.

There was no one more multi-faceted than Mingus between the s and s and of his many albums, Mingus Ah Um is considered to be a jazz classic. When Columbia first issued this album, 6 of the 9 tracks were shortened drastically to fit them on the LP. Later reissues on CD have included the tracks in their original full length, but this edition of the album had not been released on vinyl yet. It epitomizes the spirit, urgency, freedom, and feel-it-in-your-bones passion of an album that — along with Miles Davis' Kind of Blue, Dave Brubeck's Time Out, and John Coltrane's Giant Steps — forms the Mount Rushmore of quintessential records fromjazz's watershed graduating class.

Indeed, Mingus Ah Um is cited on practically every "greatest" list assembled and enjoys the rare distinction of wearing a prestigious crown in the Penguin Guide to Jazz and membership in the Grammy Hall of Fame. Now, it receives the highest sonic treatment available in the form of a reissue worthy of its preeminent creative stature. The bassist's church-music roots spring to life in the form of blues themes, moaned vocals, spiritual motifs, and preacher-inspired riffs that register with hyper-realistic dimensionality and natural intimacy.

Experienced as a seamless whole — just as the cigar-chomping composer intended — the band enters your listening room, its intertwined assembly of notes, phrases, pauses, shapes, and solos yielding something more music. What you hear here is the formation of aura and atmosphere traditionally only associated with live concerts.

Released: 03 Mar Style: Bop, Cool Jazz. In these sextet tracks, Mingus takes apart his compositions with the same audacious, self-critical freedom with which Bob Dylan unmade and remade his own songs—or, rather, Mingus even more uninhibitedly lets his band take over his compositions. Far from merely recapitulating or revisiting the classical forms of jazz that he revered and embodied, Mingus extended it—even as jazz moved in directions that he found inimical.

In working with younger musicians, whose spirit and imagination invigorated his music along with the new idiom that they helped to develop, Mingus tells a musical story of the expansive and comprehensive power of Black art.

In demonstrating the infinite fecundity of jazz tradition, and advancing it as a creator, he opens its future vistas as a teacher. Format: 3 x Vinyl, LP, Reissue. Released: 16 Jul Records in The album consists of a single continuous composition—partially written as a ballet—divided into four tracks and six movements. The album was recorded on January 20, by an eleven-piece band.

Mingus has called the album's orchestral style "ethnic folk-dance music". Mingus's perfectionism led to extensive use of studio overdubbing techniques … The Black Saint and the Sinner Lady is often characterized by jazz and music critics as one of Mingus's two major masterworks the other being Mingus Ah Um and has frequently ranked highly on lists of the best albums of all time.

Richard Cook and Brian Morton, writers of The Penguin Guide to Jazz, awarded the album a "Crown" token, the publication's highest accolade, in addition to the highest four-star rating. Steve Huey of AllMusic awards The Black Saint and the Sinner Lady five stars out of five and describes the album as "one of the greatest achievements in orchestration by any composer in jazz history.

There are a few stylistic reference points -- Ellington, the contemporary avant-garde, several flamenco guitar breaks … Mingus relies heavily on the timbral contrasts between expressively vocal-like muted brass, a rumbling mass of low voices including tuba and baritone saxand achingly lyrical upper woodwinds, highlighted by altoist Charlie Mariano.

Within that framework, Mingus plays shifting rhythms, moaning dissonances, and multiple lines off one another in the most complex, interlaced fashion he'd ever attempted. Mingus was sometimes pigeonholed as a firebrand, but the personal exorcism of Black Saint deserves the reputation -- one needn't be able to follow the story line to hear the suffering, mourning, frustration, and caged fury pouring out of the music. The piece group rehearsed the original score during a Village Vanguard engagement, where Mingus allowed the players to mold the music further; in the studio, however, his exacting perfectionism made The Black Saint and the Sinner Lady the first jazz album to rely on overdubbing technology.

The result is one of the high-water marks for avant-garde jazz in the '60s and arguably Mingus' most brilliant moment. It explores the gamut from darkness to light, sadness to joy — and like a slow inhale and exhale, is ultimately uplifting. The quintessential Charlie Lim experience ultimately lies in the live show.

Whether as a solo act; or with his super-band The Mothership, Charlie sculpts a musical narrative so mesmerising that audiences often find themselves rudely jolted back into reality upon its conclusion.

Universal Music Singapore. This rare gem of an album is comprised out of tracks written by some of the top jazz composers of all time including Thelonious Monk and played meticulously by Baker and his all-star line-up consisting out of Jon Burr Yo-Yo MaBen Riley Sonny Rollins, Alice Coltrane, Thelonious Monk and many others.

Be prepared for six sublime tunes that bring out the more intimate and touching aspects of the Chet Baker sound, a fantastic session where the master plays his themes with an almost religious surrender.

On Cool Cat the listener is treated to a mix of both instrumentals and mid-sung tunes with very moving vocals. This unique album comes as a deluxe g vinyl edition strictly limited to copies with obi strip. The jacket also features exclusive pics shot in Amsterdam in by legendary Dutch photographer Joost Leijen known for his work with artists such as Art Blakey and Pharoah Sanders. Released: 30 Jul Style: Cool Jazz. This record is the third and last record for the Barclay label. On the 22nd — or maybe the 23rd — he signed a contract to make seven records… The figure was later erased and replaced by «three», which turned out to be correct.

Country: Spain. And how. In a career filled with ups and downs, Chet Baker sounds divine on this set of bop-driven tunes and elegant standards cut in Italy after the trumpeter's two-year hiatus from recording.

Reason for its superiority owes to a sextet anchored by burgeoning, young European musicians such as saxophonist Bobby Jaspar, pianist Amedeo Tommasi, guitarist Rene Thomas, and bassist Benoit Quersin. Compositionally, ballads including "These Foolish Things" and the only new composition, "Ballata In Forma Di Blues" are tucked in between a surfeit of engaging, uptempo pieces.

Yet the most staggering revelation here, aside from the fact that, no exaggeration, Chet Is Back! Noteworthy, too, are Jaspar's statement-making performances. Now, an even 50 years after its original release, Chet Is Back! Spin, April ; November Stereo Review, February 2, Wilson wrote that her "singing voice. At first finding work as a folk singer and guitarist at coffeehouses, Carter advanced to performing pop and blues in Manhattan nightclubs after a successful appearance on television's Today show.

While never unemployed, Carter admitted to Wilson that she "made a lot of wrong decisions" in her career, choosing lesser projects over such Broadway hits as Bubblin' Brown Sugar and The Wiz. Even Ain't Misbehavin' began in a little downstairs barroom at the Manhattan Theater Club; its enormous popularity eventually warranted a Broadway run. Buoyed by her New York success, Carter headed for Hollywood, turning to television and motion pictures in the early s.

She became the star of the hit television series Gimme a Break inplaying a feisty 19 For the Record. Politics: Democrat Religion: Presbyterian. Singer and actress. Began performing on weekly radio show in Birmingham, AL, with singing group Y-Teens at age 11; folk singer and guitarist in coffeehouses in New York City; performed as a pop and blues singer in Manhattan nightclubs.

Addresses: Agent—Triad Artists, Inc. While some critics felt that her considerable talents were wasted in the situation comedy, the performer countered that a black woman in Hollywood has few options: "The public knows what it wants," she informed Suzanne Adelson in People, blaming audiences more than the industry for black actors' limited roles.

The s were also a time of major change in Carter's personal life. Inshe separated from her second husband, Georg Krynicki, whom she wed in May ofand also began a strict diet in order to slim her rotund 4'11" frame. Everything that could go wrong with me was wrong with me. Doctors told me I was obese, and I told them it was their imagination.

By November ofthough, after having dined mostly on roast chicken and pineapple since May, Carter had lost 81 pounds and noted to Boye, "I've managed to completely reeducate myself into making eating secondary. I used to eat all the time because the food was there.

Now I feel like a kid in school who is gaining points for behaving. And I love myself for it. Favoring theater songs over standard nightclub fare, the vocalist has made just a handful of recordings, guest starring on Ben Bagley's revival albums, which feature the forgotten works of various Broadway composers. Kurt Weill Revisited, Painted Smiles, Kurt Weill, Volume 2, Painted Smiles, Leonard Bernstein Revisited, Painted Smiles, Sources Ebony, September Jet, January 20, Newsweek, May 22, New York, January 13, New Yorker, September 5, New York Times, February 24, ; April 18, People, June 21,; November 14,; December 17,; January 23, Stereo Review, May Time, June 5, Variety, December 24, Chang is a violin prodigy, LP) riveting soloist who performs with a three-eighths-size instrument.

In her debut with the New York Philharmonic Orchestra, the youngster drew six standing ovations for her interpretations of several technically demanding classical works. Her teachers and fellow musicians alike are astonished by her poise and natural ability. As Daniel Webster put it in the Philadelphia Inquirer, "When the violin is under [Chang's] chin, she is a commanding speaker.

Tunney explained: "Encouraged by liberalization of the new democracy, by money from its economic successes, Koreans are in a maniacal rush to become the best musicians, the best dancers, the best performers. Better than the Japanese, the Chinese, the Italians and everyone else.

Chang was born in Philadelphia. Her family had moved to the United States in so that Chang's father could study for an advanced music degree at Temple University. Her mother too was pursuing musical studies, taking composition classes at the University of Pennsylvania.

Chang's father told the Philadelphia Inquirer that as a very young child she liked to play onefinger melodies on the piano. When she was four, we rented a one-sixteenth-size violin, and she seemed naturally able to play. Her teacher there, Julian Meyer, told the Philadelphia Inquirer Mnai Chang was "the most phenomenal talent I have seen in 19 years of teaching.

In Philadelphia Orchestra concertmaster Norman Carol heard her play at a private dinner party. Carol asked the orchestra's concertmaster, Riccardo Muti, to listen to the girl. Several weeks later, Chang stepped onto an empty stage at the city's Academy of Music and stunned a small audienceincluding Muti—with her finesse.

Her repertoire, which she had written on a sheet of paper shaped like an ice cream cone and decorated with glitter, included works 22 For the Record. B orn Sarah Yong-chu Chang,in Philadelphia, PA; daughter of a music teacher, and a composer; career managed by her father.

Concert violinist, —. By Chang was no longer a local phenomenon. She made her debut with the prestigious New York Philharmonic Orchestra and the Montreal Symphony, earning praise from critics and fellow musicians for both performances.

So far, however, only a lucky few—those who have been able to catch her live performances—have heard Chang's magic. Tony Caronia, president of EMI, told the Philadelphia Inquirer: "We are recording Sarah, perhaps not for release now, but as a means of keeping in contact with her. Her parents have said that they are trying to keep her formative years as normal as possible.

They have also encouraged the youngster to keep her options open and to explore other possible careers as well as music. With that in mind, Chang attends grade school in the Philadelphia area and studies Upon This Rock - Joe Farrell - Various - Dealers Choice Two: Definitive Breaks (Vinyl on the weekends at New York City's famed Juilliard School.

It seems unlikely that Chang will opt for a career outside music. She is gifted with a natural talent that is the envy of many an adult musician, and she can handle solo work with poise and flair.

In his story on Chang, the Inquirer's Webster concluded that "performing is a kind of exhibitionism. The player has to be convinced that her message is too important to be kept in private.

Sources Associated Press wire reportApril 7, Philadelphia Inquirer, January 16, Though rhythm and blues singer Hank Ballard had recorded "The Twist" earlier, it was Checker's version of the song that became the most popular and spread the dance throughout the world. He then turned to the chickenplucking business for a time while amassing fame in his neighborhood for his accurate impressions of singers Fats Domino, Jerry Lee Lewis, and Elvis Presley.

Performing at work, in church, and on the streets by night with his harmonizing group, the Quantrells, Chubby— as he was nicknamed because of his portly build—was eventually offered a recording contract by Cameo Records. Checker's first two singles for Cameo, "The Class" and "Dancing Dinosaur," failed to attract much in the way of public notice.

As Ballard's version of "The Twist" began to gain favor with dancers, Cameo decided to have Checker make a cover recording of it. Fortunately, Philadelphia, Cameo's locale, was also home to Dick Clark's nationally televised dance show American Bandstand. Chubby landed an appearance on the popular program, earning the surname "Checker" from Clark's wife, who likened the singer to Fats Domino, and ensuring a wide audience for his catchy song and dance routine. When teenagers' interest in the song abated, adults began to request it in clubs, perhaps because the dance itself "was so simple," in Ward's words.

Worked as a shoe shiner and in a produce and poultry business in Philadelphia, PA. Recording artist and concert performer, —. Appeared in television commercials. Broadway, beginning ofit once again climbed to the top of the charts. Between its two release dates, "The Twist" was Number One for a total of 40 weeks.

Though the singer tried to inspire such dance crazes as the hucklebuck, the pony, the fly, the slop, and the limbo, like many other U.

Nevertheless, Checker enjoyed continued success as a club performer. Like other musical acts of his heyday, Checker has profited from a revival of interest in early rock and roll, tirelessly touring over days a year with his band the Wildcats.

But the singer still finds time for recording; he saw a re-release of "The Twist"—performed with the rap group Fat Boys—break into the Top 20 in Checker has also earned visibility among television audiences with his appearances in commercials for Oreo cookies, in which he links his famous twist dance with the idea of twisting apart the two-layered treat.

The singer still holds ambitions for another Number One hit and reflected to Boulware,"If you look at the twist as the top of my life. There's so much more Chubby Checker that I'm just dying to tell the world about. Albums; on Cameo Records except where noted Twist, Twistin' Round the World, Your Twist Party, Lef's Twist Again, c.

For Twisters Only, c. For Teen Twisters, Don't Knock, Limbo Party, Lef's Limbo More, Chubby Checker's Biggest Hits, Beach Party, Chubby Checker in Person, Folk Album, Chubby's Dance Party, Dominion. Periodicals Atlanta Constitution, May 28, Chicago Tribune, March 16, Maclean's, December 30, Newsday, December 15, People, April 5, Rolling Stone, January 23, When a young Paddy Moloney began learning traditional music, his Dublin neighbors found it quite odd.

At the time, according to St. Paul Pioneer Press Dispatch contributor Jay Walljasper, Irish kids were learning American and British pop music and trying to play guitars and saxophones; it seemed that only old people cared about the national music. Back then a big festival of traditional music would attract only a few hundred participants. Fortunately for Moloney, however, what seemed to be the end of Irish folk music was actually the beginning of a revival and he was in the middle of it.

Decades later, as the leader of the Chieftains, he still is. More precisely, Moloney and the Chieftains are at the top of Irish folk music—unquestionably its leading artists. Folk music isn't For the Record. Band formed inin Dublin; members played together in duos and trios, s; Moloney, Potts, Tubridy, Fay, and Mercier joined Sean O Riada's Ceoltoiri Chualann, early s, formed the Chieftains, ; recorded first album, The Chieftains 1,on Claddagh; signed management contract with Jo Lustig, ; toured the U.

Addresses: Record company—Shanachie Records Corp. They are praised for both their musical skills, which Mason called "technically superb," and their live performances. When they take off together on a madcap reel or jig, the effect is electrifying," wrote Time. Mason echoed this sentiment: "Paddy Moloney and the boys are the quintessential Irish band: poignant, exuberant, playful, occasionally raucous and never taking themselves too seriously.

According to Stephen Holden of the New York Times, Paddy Moloney is "the master of the bellows-blown instrument know as the uilleann pipes. Moloney is also an accomplished composer and the Chieftains' primary producer.

All of the members of the band share in the musical arrangements. In Rolling Stone Scott Isler noted that it is the band's credentials, as well as their arrangements, that "distinguish the Chieftains from [other] tradition-bound Irish groups. Musicians played solo or in groups of two or three. Sean 0 Riada, a classically trained composer and performer, envisioned something different and formed Ceoltoiri Chualann—a sort of Irish folk orchestra.

O Riada's experiment eventually became the norm and before long ensembles were common. Their name came from poet John Montague's work "Death of a Chieftain. The ensemble hoped LP) do something new with Irish music. Although their pieces were classically arranged, the Chieftains played them only on traditional instruments: Tubridy on flute and concertina, Potts on tin whistle, Fay on fiddle, Fallon on bodhran a goat-skin drumand Moloney on tin whistle and uilleann pipes.

Another unusual aspect of the Chieftains' music was its blending of traditions: "The music of the Chieftains is an amalgam of two distinct Irish traditions: the single-voiced, unaccompanied pipe tunes of the folk people, and the richer, harmonized rustle of the Irish harp. It is the careful blending of the two that give the Chieftains their special sound," explained Time. The Chieftains did not record a second album for five years.

They did, however, continue to play together—with Ceoltoiri Chualann and as the Chieftains—and their audience grew.

In Ceoltoiri Chualann disbanded, leaving Moloney and company more time to devote to the Chieftains. They had recorded their second album, The Chieftains 2, the previous year. This time Mercier joined them on bodhran and bones animal bones played like castanetsand Keane joined as well. But even with a second album and the dissolution of their other ensemble, the Chieftains still held onto their day jobs.

The ensemble continued to record intermittently throughout the early s and their roster grew; with The Chieftains 3 harpist Derek Bell became a permanent member. According to the Penguin Encyclopedia of Popular Music, Bell became a "leading light in the band, with extrovert stage antics, patter as well as virtuosity. Became Full-Time Chieftains proved to be a big year in the Chieftains' career. In January they signed a managing contract with Jo Lustig, finally gave up their other jobs, added Ronnie McShane on bones, and generally began devoting more time to musical pursuits.

The next album, The Chieftains 5, was their first released in the United States; its debut was followed by the ensemble's first U. The Chieftains were no less popular on their own side of the Atlantic. Time reported that Britain's Melody Maker named them top group of the year—"for making unfashionable music fashionable"—and they sold out London's 8,seat Albert Hall twice. As if this weren't enough, the Chieftains capped the year by winning an Oscar for their soundtrack for Stanley Kubrick's Barry Lyndon.

During the late seventies the Chieftains' following grew and their lineup changed. They continued to record for film and television and in performed in front of the largest audience ever assembled—1. The Chieftains 9: Boil the Breakfast Early, released in and nominated for a Grammy, marked substantial changes in the ensemble.

For the first time a Chieftains album included vocals, provided by Kevin Conneff, who had earlier replaced Mercier on bodhran. By this time Tubridy and Potts had left the group and their space was taken up by Matt Molloy on flute and tin whistle.

Despite these lofty heights, however, the Chieftains began to expand their range, taking side trips into related fields. Rather than going to China to simply play Irish music, the Chieftains wanted to blend the Irish and Chinese musical traditions. At first Moloney was anx- "We would never come down the ladder. True, traditional playing in our way is what we want to do. The Chinese have more than traditional instruments, and any combination might be waiting for us.

During the tour the Chieftains used their Irish instruments to create traditional Chinese sounds. Schaeffer noted that the Irish and Chinese instruments are similar in harmonies and that the "Chinese flavor gives a baroque mood to these selections.

Consumers' Research magazine described the album as "fascinating. In the group recorded and toured with Irish classical flutist James Galway, who set aside his usual fare of classical music and joined the Chieftains in their characteristic jigs, reels, and airs. A year later they joined another famous Irish performer, pop singer Van Morrison, to record Irish Heartbeat. The album, which was nominated for a Grammy Award for best folk recording, included both traditional Irish songs and original Morrison compositions.

As David Browne wrote in Rolling Stone, Irish Heartbeat was a very natural, and even expected, merger of two of Ireland's most widely loved musical entities. The album mixed traditional Irish hymns and dances with new compositions; Rolling Stone's assessment of the work was succinct, stating that the music was "of course, exactly what you might expect from the Chieftains—magnificent.

According to Pioneer Press contributor Mason, they are "staunch purists" when it comes to traditional music. We want to pursue that line all the time.

But now and again we sidetrack a little bit. And all these little sidetracks are always something that suits the instruments and the style of how we play traditional I rish music.

If it's a good, well-constructed tune, then we respond. Paul Pioneer Press. This historical continuity—oblivious to the fads and fetishes of fashion—is one of the things making Irish music so powerful.

The Chieftains 2, Shanachie, The Chieftains 3, Shanachie, The Chieftains 4, Shanachie, The Chieftains 5, Shanachie, The Chieftains 6: Bonaparte's Retreat, Shanachie, The Chieftains 7, Columbia, The Chieftains Live, Shanachie, The Chieftains 8, CBS, The Chieftains in China, Shanachie, The Best of the Chieftains, Legacy, Year of the French, Shanachie, Ballad of the Irish Horse, Shanachie, Sean KeaneGusty Frolicks, Claddagh.

Keane Sean Keane, Shanachie. Molloy Matt Molloy, Green Linnet. Molloy Stony Steps, Green Linnet. Conneff, with Christy Moore Prosperous, Tara. Crowell, Periodicals Billboard, April 7, Consumers' Research, February Frets, January ; October New York Times, March 19, Rolling Stone, June 12, ; August 11, ; December 12, Time, January 12, Known as the King of the World, the Master of Disaster, and especially the Big Man, Clemons provided energetic backup vocals and music on many of Springsteen's best-selling albums.

Onstage, the towering Clemons proved the perfect counterpart to the wiry Springsteen throughout years of hectic touring. Down Beat contributor Don Palmer noted in that the Big Man was "the troubleshooter, the enforcer, a bloodline to the [rhythm and blues] ancestors" and offered "legitimacy and a sense of cohesion for what might otherwise be just another band trying to cover an attitude. Since he has been cutting albums on his own, and he has worked with other rock and roll and rhythm and blues entertainers as well.

Freed from his commitment to the E Street Band inClemons was even more excited about forging his own signature style. He noted in the Phoenix Gazette at the time that working with Springsteen had a number of drawbacks.

The two innocence and honesty, appealed to many fans. MLB player names they acquired as accurately as possible. Lydia and Beetlejuice from the animated cartoon. Furthermore, after performance made Beetlejuice a critical and commercial stepping off their front porch, it appears they have access to success. And a success on the big screen led to the creation. With a small assortment professor, Dr. Sundown, Barricade, Longarm, Sgt. Joe against Cobra Knight, and penciling responsibilities handled at various times by narratives.

Joe bios. Sort of like channeling Edward G. Robinson from Little Caesar Badvibes, and others are Time! Mace, Sundown. A newly deceased couple Geena Davis and Alec Baldwin now ghosts themselves, hire him to get rid of the yuppie family who moves into their house.

The series centered on a working-class family, the Connors, struggling with problems common to all families: marriage, money, children, work, and in-laws. Of course this is untrue. As critically panned as Baywatch was in the was a sense of hope and prevailing optimism that was U. Therefore, it was a risky News, and Ironweed all —Nicholson was one of the most move for a major studio to take a character from a comic book, requested, acclaimed, and bankable stars in all of Hollywood.

Since it would take some big-name actors and was an international smash-hit, translating well to a non- with cache to heighten public interest in the movie, the director comic book reading audience. However, eventually Toy Biz would of course, the Joker. Marvel Comics super-hero toys. Freeze, Penguin. Heck, the monochromatic element of the Game Boy that were inserted into the machine to access different games, actually extended the battery life of the machine: the device the Game Boy has proven its endurance by outselling and boasted anywhere from 12 to 25 hours of battery life on only 4 outlasting its sometimes superior competitors during its AA batteries by using a non-backlit monochrome screen and lengthy run at retail, and now exists in specialty stores that a low-power 8-bit processor.

Zelda, Super Mario Bros. Barnyard animals become action commandos. Sweet, and Captain around like tanks, others started digging trenches. Soon after, Tusker Chitlins. Although the premise for the line was interesting, the ac- The two warring factions of Commandos were the R.

Their self-titled debut album—chock full clothing, replete with cassettes of exclusive interviews. I gladly only a few of these productions. The plot: two head- school, breaking up the band. Enter a guardian angel from the future George Carlinwho devises a time-traveling phone booth they use to go back in time and learn about history handed the reins of the show to D.

The movie helped establish the modern-day super- hero genre. New Jersey: Priced Nostalgia Press, Abrams, Inc. Kent, Stephen L. New York: Three Rivers Press, Sectaurs: Warriors of and throughout all textual references. Issues Batman: The historycentral.

New York: DC Comics, chapter introductions, conclusions, et al. Moench, Douglas, et al. Barton, Matt, and Bill Loquidice. Batman: The Killing Joke. New York: DC Comics, Rettenmund, Michael.

New York: St. Gygax, Gary. Marvel Super Heroes Secret Wars. Issues Handbook. Z back matter. Smith, Carl.

The Shady Dragon Inn. Robert Zemeckis. Wisconsin: TSR. Amblin Entertainment, Kellner, Douglas. Television and the Crisis of Democracy. Boulder, Colorado: Westview Press, Interviews Albano, Captain Louis. Tim Burton. Michael Keaton, Jack Nicholson. Bozigian, H. July 27, Herek, Stephen. Keanu Reeves. Alex Winter. DEG Ent.

Budiansky, Bob. January 30, Ivan Reitman. Columbia Pictures, Budiansky, Bob. February 4, Joe Dante. Glut, Donald F. Karate Kid. John G. Ralph Macchio, Pat Morita. Columbia Pictures, Hama, Lawrence. July 31, Steven Hilliard Stern. Tom Hanks. CBS Television, May 24, Joe Lead Designer from Ed Friedman et al. May 20, Filmation Associates, Shooter, Jim. George Lucas. Interview conducted by Tim Hartnett. Twentieth Century Fox, Newspaper and Magazine Articles Anonymous. George Broad, William J.

Steven Lisberger. Buena Vista, Times, Special to the New York Times. January 29, A1. DIC Entertainment. Madman Kieszkowski, Elizabeth. Coming Back. July 4, E Television Programs Image Entertainment. November ALF: Season One. DIC August Time Life Entertainment. The A-Team: Season One. Universal Studios, June Robotech: Protoculture Collection.

March July Section 23 Studios, Nov. Beetlejuice: [The Animated Series] Volume 1. Tim Warner Home Video, Dec April Ruby-Spears Productions, Film The Secret of the Sword]. July Fraggle Rock: Complete Series Collection. Jim Henson, Silverhawks: Volume One. Jim Henson Company, Warner Home Video, Oct. Contact: Jennifer Clemente,clementej umsl. Louis, Missouri June see website Students have daily instruction with members of the Jim Widner Big Band in big band rehearsals, sectionals, master classes on their instrument, improvisation and ear training.

One of the highlights of the camp are daily concerts by the Jim Widner Big Band. Students in middle school, high school, college and adults are welcome.

The institute provides a positive and fun learning environment through lectures, master classes, jam sessions, performances and a recording experience. Olman E. Gunnar Mossblad directorGunnar. Mossblad utoledo. Dynamic courses allow campers to polish their performance poise and increase their musical knowledge. Evening concerts and student performances round out the experience. Campers stay on the UW-Madison campus, with a commuter option available for middle school participants.

Contact: Anne Aley, ; anne. J amey Aebersold is an enigma. A jazz musician and educator of the first order—having produced play-along recordings while overseeing the preeminent summer jazz camp for decades—he still runs havoc on the basketball court. He is also a staunch political activist, especially regarding the issues of smoking and gun control.

Moreover, Aebersold is a true philanthropist, having donated myriad jazz education materials to needy schools around the world. He has sponsored scholarships for deserving music students, and made a sizable contribution to the University of Louisville, home to the Jamey Aebersold Jazz Studies Program. Fully appreciating that the Kenton camps were mainly focused on big band ensemble playing with only a few students improvising, Aebersold began his combo camps in the early s, in which all students learned to improvise.

He knows his way around piano, bass and tenor banjo as well. Aebersold also will present his annual two-day seminar, Anyone Can Improvise, July 2—3. What is it about basketball that stirs such a passion in you?

Even in your mids, you are still able to hit 53 consecutive free throws and 26 three-pointers in a row. You want it to resonate and fill the expectation you have in your mind. A missed note or articulation can equal a missed basket. A poor solo can equal a bad basketball game in general. How did your life in jazz education get its start? He had landed a school job and could no longer teach privately.

While teaching a promising flute student, I asked her to improvise over a D minor scale while I accompanied her on piano. She began playing and I instantly could hear she was playing what she heard in her mind. No guessing. Her phrasing was normal and her note choices were the result of what she was hearing in her head.

I was amazed. I thought you had to have a big stack of records, drink coffee and be grumpy in order to play jazz. So, that was the beginning of my thinking that maybe everyone could improvise if they were encouraged and given some advance information such as what scale to play and for how long.

I worked at the florist from 9 a. In my basement I gave lessons on clarinet, flute and sax and eventually began helping anyone who was interested in jazz with jazz lessons. This gradually moved into my having jazz combos meet after school and on Saturdays. I was on my way learning how to teach jazz to all the instruments. My students used it, and I could hear them progressing and learning the jazz language.

At the time, I also loaned many jazz LPs to these students to listen to at home, which helped them hear the music of the pros. I quickly found their listening at home during the week was extremely important to their jazz foundation.

How did you get the idea for the Coker were at the forefront of these new combo jazz camps. Their popularity grew and grew, Summer Jazz Workshops? It changed my life. I got to hang with the pros, and in I was asked to join the faculty, teaching four hours a day rehearsing sax sectionals. I did this for about six years in the summer, traveling around the country with the camps. The camps were only for five days and I had to distill my ideas each day in order to help them progress in such a short period of time.

I started a listening class after dinner once or twice a week and introduced many jazz masters to these students. I also started a combo after dinner made up of the stronger students. It was so successful that after several years, he decided to do only combo camps. Everything had been big band-oriented, and there was very little emphasis on individual soloing. Ken retired in when I took over [running] the combo camps.

Myself, David Baker, Dan Haerle and Jerry and we added faculty to where we had 70 teachers and 15 staff. I just completed my 50th year of doing jazz camps this past summer. In addition to the U. Our jazz camps have always welcomed young and old, playing all instruments. Describe some of your teaching methods. I was one of the first to give combo students transposed parts and pass out sheets with scales, patterns, exercises, etc. When running a combo, I was always walking around the group correcting chords being played on guitar or piano, putting people back on track when they would get lost, offering various suggestions while they were playing.

I encourage combo instructors to do that at my jazz camps, too. At my camps I love to have several extra faculty who will float from combo to combo, helping the groups sound better. They may stay for 20 minutes or for the entire combo rehearsal. LP) always suggest combo faculty assign a song or two for the next rehearsal. It helps to be able to look at a new tune before playing it. Also, at the beginning of the week, you may limit the number of choruses per person or the song could go on forever.

The SJW is mostly focused on bebop language and swinging in the improvisation classes and combos. Why is this? Bebop is the foundation. In the more advanced combos at my camps, they may work on more contemporary songs and arrangements.

Overall, our goal is getting students to swing, play the changes, keep their place and play what they hear in their head.

And have fun in a group experience. I also began printing out pages and pages of basic information and giving it ings. How did that begin? I found that the basis for jazz is scales and chords. Those two elements are the foundation to music and to the music we sing in our mind.

We add articulation, rhythms, dynamics, phrasing and more, but it becomes individualized as we express ourselves musically. I published my first jazz play-along inand the [accompanying] booklet included concert [key] chords for each track.

Subsequent printings added transposed chord symbols [for B-flat and E-flat instruments] and, eventually, I added the needed transposed scales and chords for each track. This was part of the evolution of jazz education—coupling the eye with the ear. They felt I was giving the student too much and was too eye-oriented instead of letting the student use their ear. I got tired of hearing so many poor solos where the students were searching with their ear to find right notes and phrases. By my giving them the needed scales, they could see the sound that was being played in the rhythm section on the CD or in their combo.

Using eyes to the students at the camps. This eventually ended up being my red Jazz Handbook, which is used all over the world.

At my Summer Jazz Workshop [evening faculty concerts], I instituted putting the songs on an overhead projector with the screen on the side of the stage so the students in the audience could see the melody and harmony to the songs that the faculty was playing.

We still do this. Some artists criticize jazz education, saying that jazz cannot be taught. What is your response to that? The teacher is the guide. DB Dr. Contact: 88creativekeys. Students have the opportunity to perform in one of five jazz ensembles.

Instruction also includes jazz combos, improvisation, jazz history and master classes with professional musicians. Nightly activities include jam sessions. Contact: ; music camp pacific. Students study with Brubeck Institute faculty, guest artists and master teachers, in combo rehearsals, master classes and private instruction, classes in jazz theory and advanced jazz improvisation, and seminars on the music of Dave Brubeck and other topics.

Colonists have extensive opportunities to visit with the artists and clinicians, participate in numerous jam ses- sions and perform in concert. Contact: ; brubeck institute. Learn samba, bossa nova, batucada, Brazilian jazz, choro and more in a beautiful redwood grove in Northern California. There are more than 30 daily LP) to choose from. Contact: info calbrazilcamp. Participants receive daily coaching in a small group setting from world-class faculty. Master classes, theory and special topics classes, and performances by faculty and guest performers are included.

Audition requirements are posted at centrum. Contact: centrum. Contact: ; summer cornish. Students can expect an exciting and fun-filled week playing in ensembles with other talented students, and will benefit from formal and informal tutoring by the faculty.

Faculty: Dawn Clement, Mark Taylor. The lines between the soloist and the composer are often blurred in jazz, and this class will embrace this phenomena as part of what makes jazz great. Faculty: Wayne Horvitz. Attendees will gain big band and combo experience. Special guests and instructors for all instruments. Contact: ; director greatbasinjazz camp.

Classes are offered in jazz improvisation and theory, master classes, clinics and private instruction. Includes room and board and all materials.

Contact: greatwesternjazzcamp. Courses include performance in big bands and combos, music theory, arranging and improvisational techniques, working with vocalists and master classes. Faculty: Jeffrey Tower. Designed exclusively for students age 10— 15 of all skill levels, Jam Camp exposes kids to contemporary musical trends along with the cultural underpinnings of jazz.

Classes are taught by ear, offering hands-on group experiences and an array of classes and instrumental ensembles featuring vocals, dance, percussion, steel drums, songwriting, beatbox, turntable, spoken word, theory and more. Faye Carol, Mark Rosenthal. Contact: stacey livingjazz. The camp offers a combination of workshops, personalized instruction, student performances, faculty concerts and late-night jams.

At Jazz Camp, 48 all-star faculty members and participants of all ages adults and teens 15 and upbackgrounds and levels come together for a creative experience. Contact: info livingjazz. Campers hone improvisational, technical and ensemble skills and create music with other young musicians.

Contact: ; girlscamp cjc. Faculty: Mimi Fox, guest instructors. Contact: Mimi Fox: ; mfox cjc. Musicians are selected to work closely with top Bay Area jazz artists for a week of rehearsals, master classes and private lessons. Openings for all rhythm section instruments and horns. Faculty: Michael Zilber artistic director. All students participate in daily ensembles, theory classes, private lessons, workshops and performances with visiting guest artists, and are featured in performance at the conclusion of each session.

Contact: Rob Ewing directorext. This unique intensive emphasizes the technical, creative and spiritual aspects of singing and serves as a catalyst for artistic growth no matter where your path leads. Limited to 10 students. Open to intermediate to advanced singers. Faculty: Theo Bleckmann, Laurie Antonioli. Contact: Laurie Antonioli directorlaurie cjc. This supportive environment equips musicians with technical and artistic skills they can apply to jazz in any setting, and affords them opportunities to network with others who share their passion for music.

Contact: ; women scamp cjc. The workshop offers master classes, improvisation workshops, combos, theory and freechoice classes, led by preeminent jazz musicians. Average student to teacher ratio is 6-to Student age is 11 through adult. Students will get a preview of the CU Denver college music programs and explore many aspects of the industry including performance, music business and recording.

Contact: Dave Walter,david. The workshop also features jam sessions and faculty performances. Contact: ; melbrownworkshop wou. Contact: Paul Contos education director; pcontos montereyjazzfestival. The camp program is in a beautiful, natural setting, conducive to the supportive and welcoming culture of the program. Contact: Bill Dendle director; bdend le comcast. Contact: Bill Dendle director; bdendle comcast. It accepts students of all levels and ages.

Activities include jam sessions, coached ensemble sessions, master classes, lectures, group lessons and concerts.

Contact: George Colligan, ghc pdx. Adult jazz players will enjoy the Jazz Institute. Contact: Janel Thysen, Registrar: ; registrar stanfordjazz. Big band classes focus mainly on classic repertoire from the likes of Count Basie and Duke Ellington, while combo classes work primarily on learning standard jazz songs and developing improvisation skills.

Classes range from very begin- ning to very advanced. Classes meet two days per week with the session culminating in a grand finale concert on July Contact: ; tucson jazzinstitute gmail. Enrollment is limited to 60 students, who work directly with our faculty of international jazz artists, exploring styles ranging from classic bebop to contemporary open-form.

Students receive one-on-one and small group instruction, earning three units of University of California continuing education credit. Contact: ; jazzcamp ucsd. University of Colorado—Boulder Summer Jazz Academy Boulder, Colorado July 5—9 This program offers an opportunity for a select number of talented music students from Colorado and around the country to receive world-class jazz instruction in a one-week summer session.

The selected participants will be placed into jazz combo settings, and each student will also be divided up into one of many improvisation classes in order to gain invaluable educational experiences. Contact: colorado. Attendees will be a part of student big bands, combos, vocal jazz ensembles, jazz master classes, jazz theory and listening classes, student jam sessions and nightly faculty concerts.

Contact: Needs-based financial assistance, up to a full scholarship, is available. Contact: ; workshop vailjazz. Many such SJW participants stay in touch over the years.

For to year-old students attending Jazz Camp or the Jazz Camp Vocal Program, SJW is six days and five nights of intensive study, performance and camaraderie among plus likeminded peers. It sends the message that these older players are still relevant and their contributions invaluable. Another key aspect of the SJW is that students are evaluated every day and given new schedules the following morning with class and group level adjustments.

Some of the best blues tutors in the world are coming to London to work with a specially chosen group of young musicians at The Premises Recording and Rehearsal Studios in Shoreditch. It will be a weeklong event where students will learn about the history, styles and rhythms of the blues and perform a set at one of the most famous music studios in the U. Students perform in large ensembles, chamber groups, combos and take private lessons. A special University Preparatory Program for advanced musicians allows high school students to spend up to three weeks in an intense study of music history and composition.

Contact: info internationalmusic camp. The event features hands-on classes, seminars, playing, excursions and attending evening concerts. The workshop is a one-week immersion of Cuban rhythms, music, and culture. All instruments are supplied on site. University credits available up to three from a U.

Contact: Aldo Mazza Director1kosamusic. Improvisation, technique and performance skills are devel- Samba Meets Jazz Workshop in Rio de Janeiro, Brazil oped in a fun and friendly rehearsal setting.

The workshop is open to standard big band instrumentalists age 13 to adult. Faculty: MacEwan University faculty members and guest clinicians. The weeklong workshop culminates in a student performance in a Rio jazz club. Scholarships are available. Enrollment is limited to 20—25 participants. Contact: alice sambameetsjazz. Enrollment is open to junior and senior high students, university students, jazz musicians, music educators and anyone hoping to further their performance skills.

I was very fortunate that I had great teachers to help show me the fundamentals of music and my instrument, as well as some basic jazz harmony, language and history. I was also extremely blessed to study, play and spend time with heroes of mine outside of school like Phil Woods, Charles McPherson, Eddie Locke, Eddie Chamblee and others. With the help of these and other great musicians, I began to develop a foundation as a player, and the start of a personal concept.

SCALES Write out the major scale two octaves and spell out the major triad built from the first, third and fifth steps of the scale at the end. Start with C, and then go up in half steps, writing out the 12 major scales and triads. On a separate page, write the 12 relative minor scales. To produce the relative minor scale, start on the sixth step of the major scale for C major, that would be A and use the same notes from the major scale.

Sure, the dish is overcooked. But her commentary — and meta-commentary — here is perfectly valid. Here, a whole MI-6 backstory is constructed to fill in Ms. The pesky neighborhood boys are now girls, attended by a single father with a hated German nanny, rather than a single mother. There is no little girl here trapped in her room, a witness to all that goes on in the Crescent. Colin is more dimwitted here than in the book too.

And so on and so on. And the surprisingly dull denouement hardly seems worthy of all the misleading decoupage i. Seeing it all acted out makes the fever dream appear to be the play Poirot rolls his eyes at during opening scenes of The Clocks : unbelievable and ridiculous.

Tom Burke, who is surprisingly forced to portray Colin Race as unnecessarily emotionally challenged and wishy washy, is the son of David Burke who appeared in the Poirot film Hickory Dickory Dock and is well known as Dr.

Three Act Tragedy first broadcast January 1, : First Act: Poirot attends a dinner party hosted by famed actor Sir Charles Cartwright at which a local rector suddenly dies. The man had been drinking a martini shortly before he died but no poison was discovered in his glass. While some question the suspicious death, it is ruled as natural. In the absence of evidence to the contrary, even Poirot believes the death was accidental.

Suddenly, he too is struck dead, himself the victim of poisoning from a glass that contained no poison. This time the death is ruled murder. He allows Cartwright to head up the investigation, with a little help from Poirot, and in the course of the investigation there is one more suspicious death.

Poirot vows that the murders must stop, using his little gray cells to put the pieces together. Intruiging as the story is and daring as the twist may be, Three Act Tragedy shares several notable plot points with other Christie novels. MurdersThree Act Tragedy cleverly conceals the murderer by having Poirot deputize him or her as a supplemental detective. Three Act Tragedy also reprises the character of Mr. Satterthwaite from The Mysterious Mr. The film presentation is magnificent on almost every level.

Directed with a combination of astonishing period elegance and artfully ironic noir camera work by Ashley Pearce who returns to the series from the well done Mrs. The Cornwall locations are superb. The interiors are immaculate. The plotting seems quite natural, especially given the amazing set of cicumstances that unleash the plot.

And the actors are tremendously well cast for their parts. First and foremost is the remarkable Martin Shaw Inspector George Gently, Adam Dalgliesh, Judge John Deed and a bunch of other British TV detectiveswho gives a magisterial performance of someone giving the performance of a lifetime. But the script shortchanges the terrific Kate Ashfield Shaun of the DeadCollissionwhose Miss Wills character is given something of a too short shrift.

Even so, Ms. Jane Asher, who is also not given much to do as Lady Mary, is well cast and has also appeared in the Marple film The Murder at the Vicaragewhile the briefly seen young boy James Hurran also appeared in the Marple film Ordeal by Innocence. None of the other cast members have a Christie history, but are extrememly well cast, especially hunk Tom Wisdom, whose Oliver Manders absolutely embodies the good-looking shell of a hunk Christie wrote his part to be.

As the preparations ensue, many are taken by Mrs. After the party is over, the young girl Joyce is discovered dead, drowned by force in a bucket of water used for an apple bob. The shaken Mrs. Oliver calls Hercule Poirot for assistance and the Belgian detective finds a long trail back into the past involving deception, forgery and murder in Woodleigh Common.

The story is inspired by the American celebration of Halloween, following a trip Ms. Christie made to the states with husband Max Mallowan. Many changes are made along the way, most notably the time period going from the late s doing away with a lot of obvious hippie references to the period of time when Franlin D. Roosevelt was in office Paola Dionisotti Mrs.

Ian Hallard, who plays Edmund Drake, also served as script consultant on this film as well as the Poirot film Cat Among the Pigeonswas also featured in the Marple film The Sittaford Mystery. Murder on the Orient Express first broadcast July 11, : After he finishes resolving a case in Syria, Hercule Poirot is suddenly summoned back to England to conclude a case he began there earlier.

He attempts to book passage on the Orient Express train in Yugoslavia back to London, but finds that all of the first-class accommodations are taken, a surprising turn of events since it is winter, an off-season for travelers. Bouc, who helps the Belgian detective secure accommodations aboard the Orient Express. While on the train, Poirot encounters the many passengers who have filled the train, including Mary Debenham, an English governess; Colonel Arbuthnot, the strong, silent type; Mr.

Samuel Ratchett, a mysterious American who has recently decided to spend his leisure years in travel; Hector MacQueen, Mr. Aboard the train, Mr. Ratchett approaches Poirot to ask his protection from someone who is threatening him. During the night, the train is stopped by a large snowdrift between Vincovici and Brod. And then in the morning, Mr. Ratchett is discovered dead, the victim of multiple stab wounds.

Ratchett is a man known as Casetti, an American who kidnapped and killed the daughter of a wealthy American family, the Armstrongs, and was moving throughout Europe, hiding from his would-be captors. Poirot understands that the murderer must be among the passengers on the train, because no one could have boarded and left the train during the snowstorm. As he begins to learn more about each of the potential suspects, he discovers that no one is telling the truth about whom they are and why they are traveling on the Orient Express.

First published inMurder on the Orient Express was presented in the US as Murder in the Calais Coach the actual coach on the train where the action takes place to avoid confusion with the Graham Greene book, Stamboul Trainwhich was published in the US as Orient Express. It makes for a gripping read until the reader discovers, fairly late in the game, that not only no one person could have possibly committed the crime but, more importantly, the book is nothing but a recollection of lies, a preposterous number of alternate identities and too many clues that are all simply red herrings.

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